I began my career under the guidance of Alfred Krenz. Structure in composition was his greatest message, one of which he'd in turn found in Cézanne. My first themes were the things I observed around me, initially cityscapes, the suburbs and still-lives. Then I moved to landscape. The landscape is and has always been a visual excitement for me. Only the female body gives me greater pleasure. To paint, that is. In both these themes I find the possibility for structure and line. So today my oeuvre consists mostly of the landscape and the nude. With a flower study now and then. Beyond structure and line, I look for atmosphere in the landscape. And sensuality in the nude. From the start, form when I first realised I was a painter, I knew that there were other paintings I want to make. I felt them in my head like spectres. Gradually these things have reached the surface, as via Jung I discovered more about the creative process, discovered mythology and began to experience the Bible as mythology. As my technical skills matured, it became possible to me to give expression to the fantasies and the dreams that have always whirled around in my head as they still do. It's not that I want to paint a philosophy or a message. I'll put it this way: Just as the landscape or a nude creates the urge to depict it and therefore say without words: look and enjoy, so I want to say on a deeper level: look and be moved by the indescribable, incomprehensible state of being human.